BYOV - Meeting #5

October 16th presented us with another lovely fall day in Brooklyn. For my part, I enjoyed the great outdoors by lugging my trusty turntable and quasi-reliable computer to Barbès for the 5th installment of Bring Your Own Vinyl.

I should really consider renaming it Bring Your Own Digital Music Format, as I was the only vinyl presenter. But no… I will persevere.

How we get down.

We had an interesting slew of themes for this meeting. A couple that provided some real verbal jabs and parries.

Here were our themes:

a) All by myself… Memorable solo performance. One person and his/her art.

b) Getting’ modern. Musical masterpieces from the 1990s and/or 2000s.

c) What’s so special about that? Play and discuss a time-honored favorite you feel is overrated.

Of course, as anyone might imagine, both the modern masterpieces and overrated themes could prove to be contentious. “Modern masterpieces and overrated pieces could be the same category,” quipped Mr. Panken.

1. John Escreet – “Wayne’s World” from Consequences (Posi-Tone 8042, 2009)
Presented by Zak Shelby-Szyszko – Theme: B – MP3

Zak was reluctant to call any recent recording a masterpiece but was happy to bring in a recent recording that he was extremely impressed by.

We heard an angular, very modern piano trio. The pianist’s movement seemed to emerge from a post Andrew Hill sentiment. Good writing and improvising.

Pianist was the leader? Yep.

Matt Shipp? Nope. Craig Taborn? Nuh-uh. Marilyn Crispell? No.

Jason Moran? Nope.

Then came the horns. Hmm…

When did the record come out? About two years ago.

“Is it going to be a headslapper?” I asked. You know, the exasperated slap to the head. Duh!

“Maybe not for the leader. For the rest of the band…”

Then came an alto solo. Ted Panken slapped his head first. “Binney.”

No one was able to guess the leader, so Zak spelled out the band. The pianist/composer was John Escreet, UK raised, NYC based upstart along with an excellent supporting cast: drummer Tyshawn Sorey, trumpeter Ambrose Akinmusire and bassist Matt Brewer. Very nice stuff.

Zak explained that it might be a little presumptuous to call it a masterpiece but he had been very impressed with Escreet’s innate ability to incorporate the more outré musical concepts of the avant-garde without leaving melody behind. Escreet’s balance of out and in really has set the bar high over the past couple years for both piano technicians and composers.

Most dug the composition and stated that they had intended to delve into his music earlier.

2. Randy Weston – “PCN” from Ancient Future (Mutable Music, 2001)
Presented by Eric Benson – Theme: A – MP3

Eric played us a nice piano solo. The pianist took his time, first focusing on the low end of the instrument. A very bluesy solo that definitely swung and highlighted some tinge of modality.

The first guess was Abdullah Ibrahim. “No. He wouldn’t have played those blues based things. It is Randy Weston,” posited Mr. Panken.

Correct.

The recording came from a double CD from Mutable Music. The release contained two solo performances, one a new recording from June 2001 and the other a reissue of Blue (1750 Arch Records, 1983). This track was from the 2001 performance.

There was some discussion of where the earlier recording could have come from. François had thought it might have been a part of the Owl Records catalog. Owl had released a couple of Weston solo records in the 1980s.

3. Bill McHenry – “Art/Omi” from Graphic (Fresh Sound New Talent 056, 1998)
Presented by Simon Jermyn – Theme: B – MP3

This piece was prefaced by Simon: “Maybe not a masterpiece but a piece I like. Nothing flashy…”

The piece featured a quartet of tenor sax, guitar, bass and drums. The performers obviously had a strong rapport. Both sax and guitar were familiar to my ears.

McHenry and Monder. A very resonant pairing that has been successful for over a decade. The bass player had to be Reid Anderson, as he had played on most of Bill’s Quartet recordings. The drummer was the odd man out for me as I only have this group’s recordings with Paul Motian. This drummer definitely was not Motian.

Simon cleared the fog. The drummer was the esteemed Gerald Cleaver.

Futterman: “When has Cleaver ever played at this speed?”

I had mentioned Ben Monder’s immediately recognizable sound and Joel asked me what it was that I heard. Hard to describe Monder’s tone. There’s a very full bodied, warm and charged (more suitable word than electric) sound.

Ted mentioned that he enjoyed the “simple melodies” that McHenry presents. “It is refreshing.”

4. Jerry Gonzalez – “Jackie-ing” from Rumba Para Monk (Sunnyside 1036, 1989)
Presented by Ted Panken – Theme: B – CD

When we finally get the CD playing on the computer (Ted’s a PC man), the group heard a strong percussion segue into a written horn section. Everybody’s feet were moving.

Ted was surprised to have seen François at the meeting. He said that he would have brought something else if he had known. François knew this piece backwards and forwards, of course. My job depended on me knowing this one, so I stayed quiet.

No one else was guessing, though.

Francois to Steve: “You have it.”

“Do I?”

“C’mon! You don’t even have to pay!”

Francois was only too happy to blurt out the leader of the ensemble, Mr. Jerry Gonzalez.

Ted chose this recording because he felt that it was one of the best 10 CDs of the past 25 years. The record had also inspired two generations of Latin/Spanish American musicians as it drew the blueprint of a successful integration of jazz and folkloric music. The record had been name checked by many of today’s jazz/Latin music stars, including Dafnis Prieto, Miguel Zenon and Edward Simon.

“Ray Barretto said Rumba Para Monk is the top,” added Francois.

Steve wondered what Ted thought of Jerry’s trumpet playing. Ted said that while Jerry may not be virtuosic on trumpet, he definitely has great ideas that make his playing stand apart. He also credited Jerry’s global perspective, as he is equally proficient in jazz and Afro-Cuban genres, whether playing trumpet or congas.

Ted also made sure to mention brother/bassist Andy Gonzalez and drummer Steve Berrios whose contributions to the music couldn’t be ignored, especially as prominent members of the Fort Apache Ensemble.

The group also discussed the dialog between these New York raised musicians and Cuban musicians. François mentioned that while Jerry travelled to Cuba, he had been reticent to play with the Cubans, this was the holy land for him and he was paying his respects. Ted was surprised since many of the Cubans that had shown up in the States in the 1980s were so focused on the music of Michael Brecker and Chick Corea that they left most of the folkloric elements to the wayside in favor of musical pyrotechnics.

Ted: “If anyone thinks this is overrated, that’s okay. But I don’t.”

Some technical aspects were cleared up. Jerry did use some overdubbing as he performed both on congas and trumpet. Andy Gonzalez had mentioned to Ted that they had to change the songs to make the clavé work.

Definitely a classic recording in the sphere of Afro-Cuban jazz.

5. Paul Motian Trio – “It Should’ve Happened a Long Time Ago” from TrioIsm (JMT 51412, 1994)
Presented by Steve Futterman – Theme: B – MP3

Joel got Motian’s trio just as soon as Steve got the music playing. Besides the fact that Joel has been extremely familiar with Motian’s music, this group has had an instantly identifiable sound since its inception.

Steve called the Trio a game changer. A group with a musical concept that had never been done before.

But how was it different?

“Swing isn’t present. Their use of space. The non-virtuosic element… Almost like ‘Nefertiti’ (Miles Davis composition). It is all mood.”

Joel queried, “What about the Giuffre Trio from 1961? This idea wasn’t new.”

The famed Giuffre Trio was well known for abandoning the drums with the ensemble of woodwind player Giuffre, pianist Paul Bley and bassist Steve Swallow approaching improvisation from a very introspective, chamber music like angle.

Here Motian had his drums and Bill Frisell’s electric guitar but for the most part this trio was taking off where Giuffre had landed.

Joel: “I pretty much agree with you… It’s fun to argue.”

The Trio was a departure for Motian. Ted pointed out that his earlier trio had been more pulse oriented when he had saxophonist Charles Brackeen and either Jean-François Jenny Clark or David Izenzon on bass.

Zak stated that with the focus on the use of space and mood, this recording sounded like a soundtrack to a film. But he missed the film. Steve made mention of guitarist Ry Cooder’s soundtrack work and how he may have influenced or been influenced by Frisell.

Some thought this music would only work for them when they were in the proper frame of mind or mood. “When the planets align, this music could be transcendental.”

Joel thought that these thoughts were dismissive. “This music doesn’t need anything.” I agreed wholeheartedly, this configuration being one of my favorites regardless of genre.

Joel also made it clear that Motian’s music has melodic purpose of a higher order. He expressed dismay at all these new musicians, especially in the rock and classical/new music canons, that use drones upon drones that have become unbearable to him. “They’ve forgotten what melody is. I blame Steve Reich. And Philip Glass”

6. Meredith d’Ambrosio – “By Myself” from By Myself (Sunnyside, 2012)
Presented by Francois Zalacain – Theme: A – MP3

The piece began with an austere solo piano intro then joined by a female vocalist. We heard some comments that François wasn’t going with the solo theme. He just leaned back and smiled. Obviously, we were listening to a double threat: pianist slash vocalist.

Steve was listening intently. “What is the tune…?” After a moment of brain wracking, Steve got the tune. An Arthur Schwartz and Howard Dietz penned ballad.

Joel commented on the beautiful piano playing. No clue who the performer was.

Was she American or European? “You know the accents better than I do,” replied the wily François.

“C’mon, Ted…”

“Performance anxiety…”

There were no guesses to the artist. François introduced the group to one of his favorite vocalists, Meredith d’Ambrosio, and an upcoming solo recording.

Francois told the story of how he had initially came across Meredith. During the early 1980s, François’s good friend Daniel Richard manned one of the best record stores in France, Le Mondes du Jazz. While visiting, Daniel played François a Japanese import of Meredith’s Lost in His Arms. Francois fell in love and tracked her down. He has released all of her recordings since.

7. Red Mitchell – “I’ll Be Seeing You” from Simple Isn’t Easy (Sunnyside 1016, 1984)
Presented by Francois Zalacain – Theme: A – MP3

The tune is in the first three minutes. The rest is an interview with Mitchell.

François kept the hits coming.

The music began with a trumpet solo over a 1950-ish jazz ensemble. A male vocalist accompanied what the trumpet was doing note by note with a rapid, inventive and mostly comic lyric. Pretty astounding as the syllables fell in with the quick pace of the trumpet.

There were again some complaints that this wasn’t a solo piece. The complaints died down after the vocal fireworks began.

Steve was able to guess that it was trumpeter Tony Fruscella’s trumpet solo on “I’ll Be Seeing You” with bassist Red Mitchell singing his own lyrics along with the solo.

Steve mentioned how much he enjoyed Fruscella’s work because he was a tremendous improviser and particularly this solo because he never touches the head (the song’s melody).

François told the story of where the idea to record this germinated. He had originally seen Red Mitchell perform at the Nice Jazz Festival. As an encore, Mitchell had come out on stage with a tape recorder and placed it near the microphone as he sang along with this recording. It blew everyone away. After moving to New York, François became familiar with Mitchell at Bradley’s and asked him to do a solo recording under the stipulation that he would do this piece. They placed it as a bonus track on the album Simple Isn’t Easy.

This recording also had a story that included my favorite movie director, Stanley Kubrick. Sometime after the release, François received a call from one of Kubrick’s assistants who mentioned that the director had heard this recording on the radio while driving in France. The assistant asked if François would send a copy over, he did. End of story. But hell, it was a personal favor to Stanley Kubrick.

Okay. Here was where the meeting got a little more interesting… A little more controversial.

FYI – None of the statements below are representative of the sentiments of the entire group. We were happy to let the criticism fly. Being that some of the individuals depend upon these musicians’ work for their livelihood, I’ve decided to keep the comments anonymous, unless otherwise noted. Some present decided not to comment on some of the following selections.

Guess you’ll have to come to a meeting to catch everything uncensored.

8. Keith Jarrett Standard Trio – “Four” from My Foolish Heart (ECM, 2007)
Presented by Joel Harrison – Theme: C – CD

“Just throw this one on. The first song. You’ll know it in 10 seconds,” prefaced Joel.

“DeJohnette is the culprit! He’s too busy and the time is poor,” remarked one of our critics. He also guessed the Jarrett Trio with bassist Gary Peacock and drummer Jack DeJohnette.

Joel had decided to pick on Keith Jarrett on the first “overrated” selection.

“When was this? After his illness?”

A while after his illness.

Joel took issue on a number of points. The trio did not sound inspired, they played poorly and, to top it off, Jarrett wrote that this was the greatest achievement of the Trio in the liner notes (he has proclaimed the same in many liner notes before and since).

The fact that Jarrett hadn’t recorded any original compositions since the mid-1980s became a sore point with many former followers. This particular trio had been doing “the same old thing” for years. The lackluster performances don’t deserve the credit enthusiasts give, “or a private jet for that matter.” Some thought the lack of enthusiasm in performance might be due to the fact that the group was playing for a paycheck rather than creating an artistic statement.

Needless to say, there were a number of Jarrett fans present that defended the pianist to the end (namely Ted and François). Nonetheless, no member of the trio escaped unscathed. Here are some anonymous thoughts:

“Peacock is grossly overrated.”

“I know some bass jokes about him. Something to do about walking… I can’t remember them now.”

So why have these guys become icons? Obviously, the Trio’s past output (collectively and individually) has been deemed classic. Their past successes have kept them on their economically advantageous path.

“Like Sonny Rollins… Is he the greatest saxophonist living?”

“When he is on, he can play a lot of saxophone…”

“Okay… But is he really the best right now?”

“Maybe not. But I’ll continue to go to see him. Same with Jarrett.”

Here’s when I cut in with my selection. Totally off topic, naturally.

9. Lenny Pickett – “Solo for Saxophone and Tape” from Lenny Pickett with the Borneo Horns (Carthage Records, 1987)
Presented by Me – Theme: A – LP

I threw on the LP as everyone’s blood pressure was still high.

We heard what seemed to be a woodwind ensemble playing a rather dancing, pointillistic composition with a tenor saxophone feature. It was actually a tenor solo over prerecorded tapes that the player had made using various clarinets.

Joel: “This doesn’t count!”

Me: “Sure it does. Someone asked if the solo could have overdubs at the last meeting. I said sure.”

Joel: “So… If I made a MIDI orchestra with me on top, that would have been cool?”

Me: “Guess so…”

The guesses started adding up. Eddie Harris? Julius Hemphill? David Murray?

First hint: Originally from the West Coast.

Vinny Golia? Bennie Maupin? Arthur Blythe? Is this the Microscopic Septet guys?

Next hint: You can see him live every Saturday night. - Crickets.

Every Saturday night... Live… On television… – Nothing.

I let them off the hook. Lenny Pickett has been the musical director of the Saturday Night Live band since 1995. Prior to that, he had been a member of the legendary Tower of Power funk outfit out of the Bay area and had participated in many of the “downtown” scene’s projects of the 1980s. He had also arranged on recordings by artists as diverse as Elton John, the Talking Heads and Cyndi Lauper. Along with his work at SNL, he has been a part of the music department at NYU for a number of years.

“He sounds like Sanborn there.”

Me: “I thought you guys would get it when he plays his high register and bluesy R&B stuff.”

Joel: “This was barely, barely, before smooth jazz.”

Steve: “He was definitely influenced by the World Saxophone Quartet.”

Joel: “They’re also overrated.”

There the discourse went into saxophonist who might or might not be overrated.

“What about Joe Lovano?”

Ted’s eyes got really big.

François: “No. Lovano isn’t overrated. He might be overexposed.”

Too much of a good thing?

10. Ahmad Jamal – “It’s You or No One” from Ahmad Jamal at the Pershing, Vo. 2 (Argo PS-667, 1961)
Presented by Steve Futterman – Theme: C – MP3

Steve: “Here’s a guy close to Jarrett. I don’t get it. I think he’s boring.”

Then came a fluttery, tuneful piano trio recording.

“Ahmad Jamal isn’t overrated,” came the quick response from Ted. “This may not be his best performance. Put on "Poinciana." He plays a lot of piano on that. (…) He was Miles’ favorite pianist.”

Steve: “What did Miles hear? Space…? Who cares?”

“He heard them live”

Steve: “This is live… I always hear about his orchestral feel on the piano. What does that mean?”

“It is in the arrangement. His attempt to use the entire ensemble and the full piano to orchestrate all the parts that he hears in his head.”

At this point, the speed at which the conversation continued was kind of a blur. Forgive me for not catching it all. Here’s the gist.

“You can’t talk about Jamal without talking about the trio.”

“He’s not taking chances. What’s the twinkly stuff he’s doing?”

“He can play a ton of piano. Listen to the Blackhawk sessions. He plays a ton of piano there.”

Zak: “I think he’s the most distinctive pianist since Monk. He can play with this beauty and then surprise you with these bombs. Maybe not rhythmic bombs, but things that really surprise you. He really mixes it up.”

“His live shows are a circus now. He just plays on autopilot. He just throws random things in.”

“I’m not even listening to this stuff. It is music that I can ignore.”

“Well, why did eight famous pianists show up and sit in the front row at his last gig? Why?”

Steve: “I don’t know. I don’t get it.”

François described the French reception to Jamal. They weren’t very favorable at the outset.

Steve: “I don’t get Oscar Peterson, either.”

“What about Hank Jones?”

“Eh…”

François: “I didn’t know you were French!”

I’ll have to bring a recorder for the next meeting.

11. Noah Preminger – “Where or When” from Before the Rain (Palmetto, 2011)
Presented by Zak Shelby-Szyszko – Theme: B – MP3

Before we adjourned, Zak played another piece by a “young guy that I’m impressed with.”

The piece was a tenor sax and piano duo ballad. The tenor had a well-worn sound that everyone enjoyed hearing.

I guessed that it was Noah along with Frank Kimbrough.

Zak was struck by the performer’s mature sound at such a young age. That’s a big compliment in the jazz world. Ted mentioned that there was a Lovano influence in Noah’s playing and that he also cited Dewey Redman as one of his musical heroes.

Many in the room thought that a player’s ability to play a ballad really was the litmus test to whether they could hang. Trumpeter Roy Hargrove was mentioned as a “youngster” that had the ability to really emote on a ballad.

Ted and François concurred. Roy had a distinct advantage of playing at the legendary Bradley’s in New York. The club was a famous hang for legendary musicians and aficionados. Hargrove would have to play in front of the leading jazz musicians of the day on any given night. This experience hasn’t been duplicated since Bradley’s closing. It had been a huge part of Roy’s development along with many other players of his generation.

Though this concluded the musical aspect of the afternoon, conversation kept up on the development of younger musicians, who of these younger musicians were overrated and why the “jazz police” had kept them in the spotlight.

12. Joe McPhee – “Cosmic Love” from Sound on Sound (Corbett vs. Dempsey, 2011 (late 60s/early 70s)
Presented by Jeff Golick (in absentia) – Theme: A – MP3

Though he couldn’t make it due to familial obligations, Jeff told me that it would be remiss not to have a Joe McPhee solo track thrown in.

Excavation - Record Shops

This is my initial post on one of my favorite subjects and pastimes, record shopping. Wherever I go, I try to find and visit record stores. I love seeing different retail approaches, local listening trends, meeting fellow junkies, etc. These posts are posited in review of choice stores that I’ve managed to visit.

New Orleans, LA

I’ve been down to New Orleans a handful of times over the past twelve years, only once pre-Katrina and at an early stage in my collecting. The first trip spent with parents and sightseeing, I only managed to run into Virgin (deceased) and the Louisiana Music Factory (still going strong).

Over the past four years, I’ve been lucky enough to attend distributor conventions in NOLA. I’ve managed to hit most of the city’s record stores during that time, when not schmoozing or eating.

Here’s a rundown of the spots that music collectors should definitely hit.

Here's one of my favorite jams to get you through.


Louisiana Music Factory - 210 Decatur St. – (504) 586-1094
www.louisianamusicfactory.com

Easy enough. On the edge of Storyville in the French Quarter, LMF has been the authority on all things music in New Orleans since 1992. The store carries everything but specializes in music native to the Crescent City, namely jazz, soul, zydeco, gospel, blues and what have you.

Just three blocks from our convention’s hotel, LMF has typically been my first stop. The ground floor hold most of their stock on New Orleans based music and memorabilia. I spent a fair share of time downstairs as I was looking for reissues of the AFO label and some other oddities. Of the ten CDs that I was looking for, nine happened to be in stock. I was also able to snag a copy of Harold Battiste’s biography, Unfinished Blues. It was happy hunting.

The vinyl and the remainder of their CD stock are located upstairs. Genres are split along a long wall with jazz being the first and probably largest category. They are arranged in a bookshelf kinda way. A little more difficult to surf through than bins, which they do have for new vinyl and recent arrivals.

Records are pretty varied in price, style and condition. The prices are generally in the moderate range. There were some interesting looking releases, including some fun looking indie jazz labels from the late ‘70s and early ‘80s (need to dig in a bit more on the Discovery label). Could tell they were run off from radio stations.
Probably the first place WWOZ goes when they clean shop. The pieces themselves weren’t in the shape that I was looking for to pay the $15. Nice to know the records exist, though.

They also have a large, fun $3 bin. All styles. I did manage to find the 1968 Woody Herman Big Band’s Light My Fire on Cadet (corny but with some good drums – my man Donny Hathaway played organ on the follow up, Heavy Exposure).

As I mentioned, I was pretty focused on the CD buy and only took back a couple pieces of vinyl. The staff was extremely knowledgeable, especially in the NOLA centric stuff. Fun place to surf through and a must for any fan of New Orleans/Louisiana music. I was in the shop everyday that I was in town.

The Haul:

1. Al MacDowell - Time Peace - Gramavision - R1 79450 - 1989 - LP
2. James Newton - In Venice - Celestial Harmonies - CEL 030/031 - 1988 - LP
3. Steven Halpern - Spectrum Suite - SRI Records - 770 - 1976 - LP
4. American Jazz Quintet - In the Beginning - AFO - 91-1028-2 - CD - 1991 (1956/58)
5. The AFO Executives & Tammy Lynn - Compendium - AFO - 92-1028-2 - CD - 1993 (1963/1970)
6. Kidd Jordan & the Elektrik Band - Kidd'stuff - Danjor - 001 - CD - 2001 (1984)
7. James Rivers - Best of New Orleans Rhythm & Blues Vol. 3 - Mardi Gras Records - 9009 - CD - 1994 (1977/78)
8. James Black - (I Need) Altitude - Night Train - 7105 - CD - 2002 (1976/88)
9. Clyde Kerr, Jr. - This Is Now! - St. Agnes Sessions - Jazz Foundation of America - CD - 2009 (2007)
10. Ed Blackwell & AJQ-2 - Boogie Live...1958 - AFO - 92-1228-2 - CD - 1994 (1958)
11. Harold Battiste - Unfinished Blues - Book
Not Pictured
12. Woody Herman - Light My Fire - Cadet - 819 - LP - 1969
13. The New Orleans Saxophone Ensemble / The Improvisational Arts Quintet - The New New Orleans - Rounder - 2066 - CD - 1988 (1985/86)

Location: 9/10 (unless you hate the French Quarter)
Prices: 7/10
Stock: CD = 9/10 - LP = 6/10

Euclid Records – 3401 Chartres St. – (504) 947-4348
www.euclidnola.com

I had been looking forward to hitting this store since hearing about their opening last year. I’ve always made sure to check the Euclid guys out at the WFMU Record Fair in NYC. They have always carried a great, varied selection of jazz records.

The original Euclid has been a St. Louis institution for over twenty years and I’m sorry to say that I haven’t been able to visit yet. It has been rumored that they have over a million records all told. Urban legend or optimistic inventory? Regardless, they have a ton of records.

Psyched to see that they have a shop in NOLA, obviously. Not to mention they have their inventory online (kinda disheartened to find out that it was the combined inventory of both stores - not to worry, there was plenty to buy).

Euclid moved to the Bywater district north of the Quarter about a mile and a half. I made sure to run by on my early morning sweat bath/death march/jog.

Caught a cab on a post monsoon Saturday afternoon. Got to Euclid in about ten minutes with the driver fording through ravines of rainwater as high as the bumper. The store was located near the river levy where the city has been installing a river walk. Very cool neighborhood with some beautiful row houses.

I got there about two and was the only customer for most of the two or three hours I was there. Inventory was almost entirely vinyl with a wall of CDs in the back. Fine by me.

They have an excellent, large new arrival section. Love the mixed bins (typically pull stuff that I wouldn’t otherwise). Some new pressed vinyl in the mix, too.

The layout was pretty straightforward. Soul/R&B, jazz, blues, vocalist (male & female), folk, rock, hip-hop/rap, world, reggae, etc. Jazz section was big and covered a lot of stuff. I went through everything and had to weed down through a stack about seven inches thick. Did manage to find some John and Beverly Martyn records that I have been looking for in a very well stocked folk section.

The vinyl condition ranged from good to excellent. Prices vary based on condition and rarity. I thought that the prices were typical of what most of these pieces should go for, some a bit low.

Staff was extremely cool. Definitely holler at James Weber, the proprietor. Very nice guy. He also gave me the recommendation for the next shop I visited, the Domino Sound Record Shack.

Vinyl collectors – this should be #1 on your list for NOLA.

The Haul:

1. The Don Elliott Octet - Jamaica Jazz - ABC-Paramount - ABCS-228 - LP - 1958 (arrangements by my man Gil Evans)
2. Steve Grossman - Some Shapes To Come - PM - PMR-002 - LP - 1974 (excellent funky fusion)
3. Chameleon - s/t - Elektra - 6E-190 - LP - 1979 (Azar Lawrence's R&B excursion produced by Fred Wesley)
4. Icicle Works - s/t - Arista/Beggars Banquet - AL 6-8202 - LP - 1984
5. Sun Ra - St. Louis Blues - Solo Piano - IAI - 37.38.58 - LP - 1978
6. The Vinny Golia Large Ensemble - Facts of Their Own Lives - Nine Winds - 0120 - 2LP - 1987 (1984)
7. John & Beverley Martyn - The Road To Ruin - Warner Bros. - 1882 - LP - 1971
8. Exuma - Do Wah Nanny - Kama Sutra / Buddah - KSBS 2040 - LP - 1971 (Caribbean soul)
9. Klaus Schulze - Trancefer - Pathé Marconi / EMI - 2C 068-64636 - LP - 1981
10. Mary Lou Williams & Cecil Taylor - Embraced - Pablo - 2620-108 - 2LP - 1978
11. John & Beverley Martyn - Stormbringer! - Warner Bros. - 1854 - LP - 1970

Location: 6/10 (a little harder to get to but worth the trip – even to check out the neighborhood)
Prices: 8/10
Stock: 9/10

Domino Sound Record Shack – 2557 Bayou Rd. – (504) 309-0871

I originally came across Domino while searching for record shops on Yelp. It had a couple of very nice reviews. After hearing the nice review from Weber, I thought I should make the trip.

Domino has been open for nearly five years and seemed to be pretty healthy. The store was the only one in the neighborhood and caters to folks looking for more obscure titles, especially punk, reggae and world.

The store was located a bit north and west of the Quarter and took a five minute cab ride.

The store was a small one that was maybe 50/50 new to used vinyl, all mixed together. The selection was well rounded for a store that size. The sections were broken down into punk, rock, soul/R&B, jazz, mainly reissue world, avant-garde and a very large reggae section. This was the best store for reissue vinyl as the selection was large and very up to date.

I was happy to find a rather large cache of out indie jazz stuff. A couple Ogun, Hat Hut and MPS pieces at reasonable prices. There was a Harold McKinney on Tribe Records on the wall but I don’t roll that deep.

The owner was in the house and was very helpful. He was also nice enough to put up with my friend and me for an extra 40 minutes as we waited for a cab to pick us up. Time played into his hands as we continued to comb through the bins finding more to add to the bill. Turns out the store also had their own vinyl only record label with some nice looking blues, world and punk stuff (including The Ex + Tom Cora).

Good hang and well worth the trip.

The Haul:

1. Tommy McCook & The Super Sonic - Top Secret - Techniques Records - WRLP 35 - LP
2. Ernest Ranglin - Be What You Want To Be - Konduko - KON 1984 - LP - 1983
3. Oliver Lake Quartet - Clevont Fitzhubert - Black Saint - BSR 0054 - LP - 1981
4. Naná Vasconcelos - Bush Dance - Antilles / Island - 90698-1 - LP - 1987
5. Louis Moholo's Viva La Black - s/t - Ogun - OG 533 - LP - 1988
6. Jasper Van't Hof - The Selfkicker - MPS - 68.164 - LP - 1977 (great, weird fusion)
7. Joe McPhee - Variations On A Blue Line - Hat Hut - Hat 0 - 1979
8. Pheeroan ak Laff - House of Spirit: "Mirth" - Passin' Thru - PT 4238 - 1979 (awesome solo record featuring spiritual jazz and soul)

Location: 6/10 (bring a phone number for a cab)
Prices: 8/10
Stock: 7/10

***

Full disclosure: I visited three other record stores while I was there. I won’t get nasty here and point these shops out but I will say that in a town that prides itself on its cultural/musical legacy these retailers need to get their shit together. Between the variables of no AC, terrible stock condition and overpricing (one store had CDs at nearly twice suggested retail), these stores are borderline horrible.

That said, I give an enthusiastic endorsement to all the three stores that I’ve mentioned above.

BYOV - Meeting #1

Also the first post, incidentally.

So this will be the official online home for BYOV (Bring Your Own Vinyl).
I decided to start this listening group to provide source for knowledge building and a fun hang. Nice of me, huh? Actually, the group’s success is entirely dependent on folks (like you) coming to meetings and sharing your favorite music. Sounds like a gas, right?

The first meeting was on June 5th at Barbés in Park Slope, Brooklyn. I have to admit being a little antsy when only a few people were hanging at 3pm. I forgot I live in NYC for a sec. Give ‘em 15. I think we had a great group show up with some fantastic music selections.

Onto the show. The initial two themes for this meeting were the following:

a) Start at the bottom… Who are your favorite low voices? Bass players, tuba virtuosos, etc.
b) He/she did what!?! Know a performer that’s done something completely out of the ordinary? Change genres? Instruments? Genders?

So here’s a list of the selections that were brought in along with links to sound and places to find ‘em.

1. Keith Jarrett – “Mortgage On My Soul” from Birth (Atlantic, SD 1612)

Presented by Me – Theme: Both - LP

I picked this track because it applied to both themes. Birth is one of three recordings that emerged from a particularly fruitful July 1971 with his recently formed American Quartet, featuring Dewey Redman (reeds), Charlie Haden (bass), and Paul Motian (drums). Of course, Haden is one of the greatest bass players in jazz history. But what the hell was he doing with a wah-wah pedal?

I remember buying this record when I was 17 or 18 at the Record Exchange in Kansas City. Being more or less a jazz novice, I knew that I had to give Jarrett a listen. He was supposed to be heavy, right? This may have been the cheapest in the bin plus it had some killer artwork. Psychedelic baby burps? Count me in. I was coming to jazz via hip-hop and “Mortgage” had a particular grab on me.



Buy here

2. Barre Phillips – “Mountainscape, I” – from Mountainscapes (ECM, 1076)

Presented by Ben Monder – Theme: LV - LP

Oh man… Told Ben that I had nearly brought this one myself. This 1976 ECM release is an amazing blend of acoustic and electronic instrumentation. Phillips is an American born bassist who left to find greener pastures and a more receptive audience in Europe. His most frequent collaborators turned out to be the British reed/synthesizer master John Surman and another ex-pat drummer/synth guru Stu Martin, who both appear here. These three originally came together as a trio called, well, the Trio.

The thing that is most striking about this recording is the fact the synthesizers don’t date the work or dominate the proceedings. They sound natural in the development of the overall sound. Large credit should be given to experimental synth maven Dieter Feichtner.

We discussed the work of Stu Martin a little. There isn’t much info available about him or his short career. His work with Surman and Michel Portal is great. I also see that there is a trio recording on the French Marge label entitled Sunrise from 1979. More info on Stu would be appreciated.

This record received an ovation, btw.



Buy here

3. Eva Taylor w/ Clarence Williams’ Blue 5 - “Mandy Make Up Your Mind” (Okeh, 40260)

Presented by David Adler – Theme: Both - CD

“Is that Wynton?” Some laughs. Great tune, great singer… Features the lovely trumpet of Louis Armstrong. Overall this is a nice trad jazz recording from December 17, 1924. But that isn’t reason it was brought in. This track also features the legendary reeds virtuoso Sidney Bechet. He isn’t playing his customary soprano sax or even a clarinet. He solos on an instrument called the Sarrusophone.

David went on to explain the particulars. Evidently, Bechet, being a master at many wind instruments, decided to try something new. He came across this behemoth of a horn in a music shop before this recording. The Sarrusophone is a woodwind instrument named after French bandmaster Pierre-Auguste Sarrus. The instrument was intended to be a louder replacement for the oboe or bassoon in outdoor bands. The fingering is close to that of a sax, thus Bechet was an easy study.

So… Here we are listening to this lovely track when this tuba meets dump truck sound comes in. Huh? So back to the story… Bechet makes this recording and decides that he doesn’t like the track or the horn. So not only does he quickly get rid of the horn but also denies that he ever played it or even appeared on the track.

This track was a real winner and a total surprise. Also got us contemplating strange low voiced instruments and contemporary players. Scott Robinson, Anthony Braxton, J.D. Parran, Roscoe Mitchell! Please take a bow.



Buy here

4. Billy Higgins - “Blues Tinge” – Which Way Is East (ECM, 1878)

Presented by Jerome Sabbagh – Theme: HDW? - CD

This was a blindfold test for the group. I can tell you that no one got it right. Apparently, Monder had guessed Elvin Jones on a previous listen.
Now we know what it sounds like when a fantastic drummer plays the guitar. Higgins appears on what seems to have been a very laid back session with saxophonist Charles Lloyd with guitar and the blues.

Not that he’s the greatest vocalist or guitarist of all time but rhythmically there wasn’t anyone that could have delivered the song more naturally. Pretty interesting to hear. BTW, there is a Elvin Jones recording where he plays guitar – Elvin Jones/Jimmy Garrison’s Heavy Sounds on Impulse!. Also worth a listen.

Buy here

5. Jimmie Rodgers & Louis Armstrong – “Blue Yodel #9”

Presented by Oran Etkin – Theme: HDW? - CD

Early fusion? I guess you could call it that. I’m happy that Oran brought this in. Very interesting how closely related the blues and country music really are.

Rodgers was a fantastic country guitarist and vocalist (yodeler). This session with Louis Armstrong and pianist Lil Hardin was put together in July 1930. The form is extremely loose. Oran points out that all the members were willing to let measures slide in order to extend phrases, etc. A rambling tune in the American tradition, huh?

Armstrong’s solo is a work of minimalist beauty, too. Far from his usual bravado.



Buy here

6. Swamp Dogg – “The Other Man” – You Ain’t Never Too Old To Boogie (DJM, 20476)

Presented by Zak Shelby-Syszko – Theme: HDW? – MP3

Born Jerry Williams, Swamp Dogg has been a musical gypsy his entire career. Jumping from genre to genre and label to label. He finally began his own label to release his particularly unusual records. Musically, he has been associated primarily with soul but, as this particular selection proves, Swamp can play whatever.

Swamp grew up listening to country music. The genre creeps into this rockabilly, country swing tune from 1976. Honky tonk guitar and driving drums. Really fun.

Buy here

7. Swamp Dogg – “Synthetic World” – Total Destruction of Your Mind (Canyon Records, LP-7706)

Presented by Mark Jacobson – Theme: HDW? – MP3

Talk of Swamp Dogg led to another track from an iPod. Ugh. Kidding…

“Synthetic World” is what many refer to as Swamp’s “hit”. Swamp complains about a “world that is plastic.” Worries about falseness, pollution, psychedelic music… Call him old fashioned and a little ridiculous but some fun shit. This came out in 1971.

“My patience is wearing thin…”



Buy here

8. Hermann Szobel – “Transcendental Floss” – Szobel (Arista, AL 4058)

Presented by Richard Gehr – Theme: HDW? – CD

Whoa… Richard described it as “a distillation of all fusion” then added, “I think it is pretty awesome…”

Brief story. 18 year old, Austrian nephew of famed concert promoter Bill Graham records his one and only record for Arista. He was a piano prodigy influenced by Jarrett and Martial Solal. He puts out the record and then has a nervous breakdown. Szobel completely disappears never to be heard from again. Uh… Read some more on the guy this Myspace tribute site. http://www.myspace.com/szobel/blog/172297862

What the hell is “the Roberta Flack thing”? Weird.

Sounds like a fusion of 1976. Mish mash ideas with segued sections. Overcomplicated piano over aggressively reverbed space drums. Many wondered who the sax player was. A guess was Steve Grossman. I thought it sounded a lot like Gato Barbieri. Dude named Vadim Vyadro. Breakdowns leading to contemplative piano ruminations and sax slinkiness. Zappa-ish toward the end where Dave Samuels’ (a name we recognize!) marimba comes in.



Ebay that sucker!

9. Sam Newsome – “Blue Beijing” – Blue Soliloquy (CD Baby)

Presented by Jim Macnie – HDW? – CD

Brilliant example of physical command of body and instrument. Sam Newsome is a fabulous saxophonist that has been focusing on the soprano for over 15 years. His command of the horn is well known.

“Blue Beijing” is an exercise in circular breathing and pattern in a solo setting. The Eastern flavor is a premise for his arpeggiating figures that run up and down the length of the horn. His speed increases as the figures get more complex and ends up with some extremely highly blown altissimo notes.

Give his blog a read. Fascinating study on this difficult instrument.

http://sopranosaxtalk.blogspot.com/

Buy here

10. The Stoner (Nils Berg) – “Mitt svenska hjärta” – Hat Music (Hoob Jazz)

Presented by Jeremy Udden – LV – CD

The Stoner is a band led by the Swedish saxophonist/bass clarinetist Nils Berg. Jeremy tells us that Berg is his favorite bass clarinetist.

The tune is from a live recording of the band. The low fi quality is cool as it provides an interesting vibe to the piece. There is also an airiness in the music as Berg and the piano player seem to float in the space. Beautiful piece of music.

Buy and listen

Amazon links will have sound samples where YouTube couldn't find. Hope to make this a little more solid soon.

Thanks again to all of you that came, presented, and listened! Hope to see some more folks on July the 10th!

Love to hear comments and thoughts.